Lights Out may not reach the level of "The Sopranos," but it has enough going for it to at least earn a shot at the title.

Being Human works better than it should because of skillful writing, often laced with wry humor, and the very deep well of plot possibilities in the idea that three "monsters," as they call themselves, can pass for "human."

Skies has enough going for it to appeal even to those who don't think they like sci-fi.

While some plot elements and characters have been imported intact from the United Kingdom, the American show makes its own statement and will move away from its British roots in future episodes.

While there are somewhat foreseeable plot developments (Cameron's falling for Melanie, but she's hooked on Dutch), the series does have an agreeable cast and clever writing, and perhaps enough of both qualities to go the distance.

The trick to Archer is that you have to listen--and watch--carefully. What can be seen and heard on the surface is outlandish, but the real genius of the show is to be found in its seemingly offhand sight gags and throwaway lines.

The scary parts of the show really are scary and the actors are all appealing.

Dinner isn't quite ready to take its place in the Brit-com hall of fame, but it's good for a laugh or three.

The Borgias, created by filmmaker Neil Jordan ("The Crying Game"), is the better of the two [The other is "Camelot"], thanks largely to Irons, a strong supporting cast and sophisticated production values.

For the most part, [Haynes] succeeds because he embraces the story's excesses instead of feeling they need to be swept under a metaphorical rug.

They bring David himself on as a kind of nudge to the ribs, as if to say, "Of course we know we're ripping off Larry's show." But what the hey? David's clearly in on the joke and is well paired with Reiser as the two of them riff off each other over lunch.

The material works more often than not because the guys are completely shameless, which makes them difficult to dislike.

What truly makes the miniseries, though, are the performances in general and that of Garai in particular. The entire story and theme turn not only on contrasts but also on character evolution, which demands precision and nuance from the cast.

Several recent documentaries have tried to help the rest of the world understand the realities of being transgender, but, ironically, one of the better efforts does it well in spite of the fact that it focuses on the offspring of one of the most famous couples in pop culture.

Angry Boys is an equal-opportunity offender, but its infectiously juvenile humor, not to mention its secret heart and, of course, the appeal of Chris Lilley's multiple impersonations, make it very hard to stay angry for long.

With a cast this big, though, and plots this complicated, it can be a challenge to keep up. Then again, if you're willing to do the work, it more than pays off.

Despite the complexity of the subject, it's impossible not to get the gist of what went on in 2008, thanks to the focus on the players and the actors who do the playing.

Don't try too hard to make sense of it: Covert Affairs is simply--and simple--fun.

Unlike other documentaries, Gettysburg is short on archival still photography from the battlefield, but that's because, for once, it isn't needed. The re-enactments are dramatic and horrifically convincing all by themselves.

Despite what we know about his troubled childhood, Fischer remains enigmatic.

It's unlikely that any TV drama filmed in Toronto could ever come close to the bloody reality of war, but ABC's new series, Combat Hospital, makes a pretty compelling attempt at doing so.

Revenge has enough meaty characters and plot possibilities to keep it going for years. And it just may last long enough to explore them all.

The performances and characterizations are all top-notch, and the action sequences, especially in the first episode, are crisply directed.

Pelosi's film may not tell "the other side of the story" directly, but if it does nudge us to consider these issues, viewing the film becomes more rewarding.

The life of an everyday American high school girl has rarely been rendered with such sly and funny precision as it is in MTV's aptly named Awkward.

Once Upon a Time is both family-friendly and smart enough to win viewers of any age and level of sophistication.

The performance quality of the show is matched only by the sharpness of the writing.

By making us wonder what Steinem doesn't declare, we can come to a greater understanding of the complexities of the woman herself, but only if we are willing to venture beneath the surface.